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Introducing the APS-C Sony NEX-EA50. Is This the Future of Consumer Large Sensor Video Cameras?

08.17.12 @ 9:06AM Tags : , ,

Sony, seemingly out of nowhere, has announced a new consumer large sensor video camera called the NEX-EA50 (as usual the name just rolls off the tongue). Don’t be fooled by its outdated looks, as this camera is mostly new technology under the hood, utilizing a 16 megapixel APS-C sensor to record 1080p AVCHD 28mbps video at up to 60fps. The camera comes standard with an 18-200mm F3.5-6.3 lens that features both auto-focus and image stabilization. The shoulder-mount design of the camera is an interesting choice (I’m certainly not complaining), but it will finally allow proper handheld for a camera in this class. Check out the introduction video below from Sony.

These are some of the main specs:

  • 16 megapixel APS-C sensor (can take still images)
  • 1080p at 24/25/30/50/60 fps (1280 and 480 also available)
  • 24mbps with a max of 28mbps AVCHD
  • E-mount interchangeable lenses, Comes with 18-200mm F3.5-6.3
  • 3.5″ 16:9 XtraFine (1920 x 480) LCD
  • Recording Media: Memory Stick – SD/SDHC/SDXC – HXR-FMU128
  • 2 XLR Inputs with Phantom Power
  • No ND filters
  • Weight: 3.79 lbs.
  • Available October 15th
  • Price: $4500 (Price keeps changing, previously $3,600, then $4,000)

The introduction video is interesting, to say the least. So where does this camera fit into the mix? We’ve got so many new cameras coming out, it’s tough to get a grip on who a particular camera is actually designed for. Judging by the video, this will be a wedding cinematographer’s dream camera. It’s going to have good low-light performance and it’s got a servo zoom lens with a rocker on the side. Being able to put this camera on your shoulder at a moment’s notice is much faster than dealing with a rig and a DSLR (I know this because I’ve dealt with both for years). I’ve talked about my preference for camera design before, and it’s obvious Sony is listening to me. I would still like to see one of these Sony cameras put ISO and white balance in an easy to use scroll wheel on the side — you know, since you’d be changing those the most in a run and gun situation — but design-wise there is a lot to like.

As for the sensor in the camera, it’s most likely taken from Sony’s mirrorless line (it probably uses the same sensor as the NEX-5N), so while it’s not going to have the video resolution of the FS100 or FS700, it’s still nice to be able to get the positives of the Sony mirrorless cameras with the design of a proper video camera. Sony is also introducing a new mirroring memory stick that is designed to record a redundant backup right on the same card. I guess I’m not really sure there is much benefit to that (since if the card is corrupt it doesn’t matter if you’ve got two copies), but it’s still an interesting concept.

The fact that it doesn’t have ND filters is a bit of a letdown, but it makes up for that by having a real zoom lens, something that has been sorely missed on DSLRs since their inception. The camera also features something that I will need to see to believe, and that is a digital zoom that crops the sensor in real-time so that you can zoom with prime lenses. From B&H:

To accommodate Sony’s first E-mount lens with servo zoom, the NEX-EA50UH sports a rocker-style zoom lever. The rocker zoom is a familiar feature for long-time camcorder users, but those who are familiar with interchangeable lens systems may wonder, what good is a zoom lever if you are using a prime lens or a manual zoom? Sony’s answer to that question is a lossless digital zoom. The effect is achieved by cropping the image sensor in real-time, which changes the angle-of-view with no sacrifice in resolution.

It will be interesting to see if other manufacturers go back to the shoulder-mount design. Being able to pull out the shoulder pad when you need it and make the camera more compact when you don’t is the best of both worlds. Compact cameras are great for certain instances, but they require all sorts of rigging to really get the most out of them, especially in a professional situation.

If you’re interested, you can pre-order the camera using the link below.

What do you guys think? Are you interested in a $3600 NEX-5N that has all the features of a regular video camera?



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Description image 89 COMMENTS

  • This looks super interesting for people who are doing event stuff with Ex1s/Ex3s and such. Good to see an ole fashioned shoulder camera. Sony is throwing it all out there right now, good for them!

    • Thaaaat’s me. I LOVE the EX3 and have missed its form factor with all this modular-design fad nonsense. I like a camera that is built to shoot out of the box, without the need for hundreds to thousands of dollars worth of rigging. Granted, I am specifically thinking of run-and-gun situations.. i know the narrative folk here feel differently, and I completely understand why.

      WIth that said, at this price, I’ll take this over the BMD camera any day. The latter makes much prettier pictures, to be sure, but form-factor goes a loooong way with me.

      • Totally agree when it comes to run and gun. I’ve shot concerts for a while and I can;t honestly some spindly 15mm rail rig thing with cute grips all over it and a follow focus dealing well with crowds and being comforatble on your shoulder for more than 3 hours.

        I think the Black Magic Cinema Camera is going to be much more of a studio camera, or at least for much more controlled environments. The fun part is, for the price of a new ex3 when it came out, you could get the BMD camera AND this one. WOOOOO!

        • ” The fun part is, for the price of a new ex3 when it came out, you could get the BMD camera AND this one. WOOOOO!”

          Well said. These are exciting times we live in. Access to equipment is such a non-excuse these days!

  • Now that is pretty awesome!

  • Talk about convergence in reverse… 16 MB RAW w mechanical shutter for still photography in a traditional style video camcorder. Interesting times.

  • It is kind of weird to see this type of cam without some built in ND, but I agree the lens makes up for it. I mean, back in my days of shooting on the z1u, we had to walk fifteen miiiiles in the snow to get a good zoom lens…

    • +1 on the lack of ND. I completely understand the form factor. I miss having a quick shoulder mount without all the fuss. IMO, ND would have made this a worthwhile purchase.

  • Nice…. but will wait till F5 comes.

  • Meh, looks like a decent event or low budget doc camera, but the 28mbps is kind of a killer for broadcast and narrative potential.

    • If it’s anything like the FS100 implementation, it’s going to be fine for most purposes, even narrative.

      • Hey at least they didn’t put the EVF on the top! ]%

        I like my widdle RX100 for run-and-gun. They are coming out with magnetic ND’s for it, and the ISO and WB I’ve set to be the dial left and right buttons. It uses this same codec and isn’t awful in low light wide open.

        If I have a suggestion for Sony it’s “Make fewer, but better, products.’ That was the first thing Steve Jobs did at Apple, he made a four-cell matrix for the only four products the company was going to make: Pro vs. consumer laptop vs. desktop, and he made the Mac Pro, iMac, Macbook Pro and Macbook the best they could be with just a bit of personalization added on. Economies of scale kept costs and prices low, and everybody knew which product was for them. Sony has too many cameras and all of them are inexplicably compromised…like a camera designed for run-and-gun that makes you stop and screw on ND filters when you emerge into the sunlight.

        • @Peter I agree, Sony needs to release fewer products because some of us are expecting another camera a week from now.

    • 28 mbps AVCHD is actually quite good. I doubt any broadcast would turn the footage down if you told them it was shot at, say, 50 mbps.

      • @Hummer You’d be breaking contracts. Not worth it.

        • Having worked on both sides of the broadcast fence, I’ll be the first to admit that it really doesn’t matter as long as the content looks fine and no one says asks questions.

          The standards are to prevent producers from submitting garbage, but you’d be hard pressed to tell the difference shot at a highly efficient 28mbps AVCHD codec and a 50mbps MPEG-2 codec.

          • Tru but sometimes you have to sign a contract in advance and they require a certain camera/specs. Very unlikely that a 28mbs will be listed as an option. Said that, this seems a great camera for independent documentary filmmakers.

          • Cmdrlaforge on 08.17.12 @ 3:56PM

            Apparently there is clean HDMI out….

      • You could also just discuss it with your broadcast partner. We’ve done this with HDV in the past. You could likely sneak it by, but I think the big thing is keeping the dialogue open with your broadcaster. Content is always King.

  • Lack of ND bothers me a lot, and so did the music on that video! ;) But I’m glad they’re realizing that event shooters want large sensors on real video camera form factors.

  • Looks like a decent camera, but obviously with very specific uses in mind. It’s an improvement in some aspects. Looks like the kind of camera that will be for people who are accustomed to the EX3 or a Panasonic HPX170. For some of the new features it is introducing to that price point, it will make a pretty good camera for events, but for anyone working on something more cinematic it will probably be better to just save up the extra bit for an FS100 or FS700.

  • do you think the recent hacks of the NEX5 will be at all relevant for this camera? if so this could be huge (not that it isnt really cool already).

    • There aren’t any hacks for the NEX-5. That was bad information perpetuated by GH2HD (aka EOSHD) and SonyAlphaRumors, which only confirmed that the Linux firmware is accessible.

  • Black dynamite on 08.17.12 @ 10:14AM

    Lack of ND filter … Why they alway have to leave something on the side… People will ask for it and Sony will put it on the next generation… It’s all about making more money.

  • I would rather get this than a Canon DSLR in the same price range.

  • Finally!! For documentary, it should work totally work.

    But like another commenter, I have to ask, what is up with that music?! It’s almost like this camera is 20 years old that’s been sitting on a shelf waiting to be released and someone finds it along with a cd that contains all promotional materials. And they release them both.

  • I feel like this came out in the 90′s

    • Nobody wanna shooting 1080p in the 90′s, most home users watching 4×3 sdtv 480p

      • I mean to say no one was shooting High Definition, back in the 90′s i seen many folks shooting VCR camcorders, DV tapes camcorders, betacam, 8mm Video Camcorder, and none of them are High Definition. You saying this camera looks like came out from the 90′s?

  • Narrative types might as well go for the FS-100. This camera like many of Sony’s recent offerings shows they are hungry. Rumors about a NEX full frame seem to suggest they are very hungry.

  • This is a step in the right direction, and affordable too.

  • Hmmm I still think that for under £4,000 my best option is the GH2.

    Ive looked at the features of all cameras under this price point and none can compete with the price/performance ratio of the Gh2h once hacked.

    If money was no object I would have about 5 Arri Alexas!

    • This is an ENG camera with proper XLRs, shoulder pad, zoom etc… GH2 is a good cam but for live events this new camera seems really a better choice. Wedding shooters will probably love it! Sad that is not the same sensor of the FS100…

    • The GH2 has very poor low light sensitivity, and obviously unsuited form factor, and its much-ballyhooed hack is an unnecessary liability of storage space.

  • I shoot wedding all the time and in my experiences ND filter is absolutely crucial for shooting outdoors in the sun!

  • regardless of XLR connectivity, the preamps aren’t going to be any use if signal to noise ratio is anything to be bothered about. So the way I see it, I would still record sound separately into a purpose built industry standard or higher location recorder with some proper Preamps and so on. You can get rigs for the GH2 and have some kind of shoulder pad accessory for it, as well as zoom etc… all of which could be bought for less than the asking price of this camera body.

    Just my view though. At this time I can’t see a better option than the GH2H with a ton of accessories for the same money. but yeah I can see why this camera would appeal to others, just I would wait a noter 3 years to see what cameras are available on the market for the money and learn things on the GH2 meanwhile…

    But yeah the other cameras are good too. Its all about budget and opinion. and ability!

    • Might as well buy a camcorder, instead of spending money trying to turn a lock down camera into one. To each his own I suppose.

    • Honestly, I can’t think of a good reason to use a GH2 over this new Sony for most doc or doc-style stuff. I love the GH2, but let’s face it – it is still a PITA for anything apart from shooting a relatively unchanging scene from a stationary position.

      I miss XLR inputs, zoomable video lenses, a respectable EVF, and a form factor that doesn’t get tiring after 20 minutes. Having an APS-C finally gives me the cinematic DOF to justify the crossover back into camcorder land.

  • As a verite documentary videographer, no ND filter is a deal breaker. I use ND 100% of the time outdoors and use it often indoors to force my iris wide open to achieve a shallower depth of field. The run-n-gun nature of verite documentary is such that I’m usually fighting just to capture the action as it is occurring, much less stopping entirely to screw on filters. If this camera is intended for studio productions then I can understand the absence of ND because you’d have the time to screw it on, but the video clearly indicates it is intended for a wider range of video productions. I can’t understand why somebody at Sony approved this, unless the decision makers are out-of-touch with the needs of videographers. Or maybe I’m the only one using ND anymore!

    • Well with this being a large sensor camera, you’re still going to get pretty shallow depth of field by stopping down the iris.

      • Is that so expensive to implement such an crucial feature as ND filters? I use it all the time when needed on my EX3. It’s a must have…

        • I really don’t know, and neither do we, but it may very well take quite a bit of engineering to get them to work with large sensors – which is why we haven’t seen mechanical ones on any of these cheaper large sensor cameras.

          This isn’t really an ENG (electronic news gathering) camera though. News people don’t usually need or want shallow depth of field (though the larger sensor definitely helps in low light). It’s a consumer/prosumer camera most likely aimed at wedding shooters. The real ENG version of this camera would most certainly have them, but it would also probably cost quite a bit more.

    • Agreed… An ENG cam at this price tag without proper ND filters is a little stupid. They already have the tech for that, just implement the same way they did on the FS700 and sell it and BAM!! You have a killer low end ENG cam for a variety of situations…

      No proper NDs on an ENG cam is really a NO for me too…

    • john jeffreys on 08.17.12 @ 1:57PM

      For fucks sake, get a 30 dollar variable ND screw on filter from amazon and slap it onto the top of the lens.

      • Variable NDs aren’t nearly as sharp as one piece of glass, but it’s a valid point for anyone who really needs one and is going to leave the kit lens on much of the time.

        • john jeffreys on 08.17.12 @ 2:31PM

          I have a 52mm polaroid variable ND, as a temporary until I get the money for a matte box and filters, and it works just fine. I dont notice any color cast or anything.

        • As Shane Hurlbut likes to remind us (check his latest blog post for an example), vari-ND’s are made from two circular polarizers, and as such they flatten the vitality out of human skin. Since mostly we like to see humans in our films, Vari-NDs are decidedly a shortcut, or at least an effect.

  • Ha ha, I just had to comment on the subtle humor in this post Joe. Nicely done.

  • On a second thought I would say that this camera is infuriating!! first: No ND filters. Deal breaker. Second:
    Documentary filmmakers need to quickly access both the regular viewfinder when you are out in bright day light and then can rely on the flap monitor (say while walking/running and shooting) the option they give us to flip the viewfinder is cumbersome and doesn’t work if you are really running around jumping off boats cares etc…. How hard was to make a camera similar to the z1U with larger sensor? It really boggles the mind.

  • Kudos to Sony for listening to it’s customers. In the many complaints about the FS100′s form factor I heard people describing this exact camera.

    I know we haven’t seen any proper tests or comparison footage from this camera but my question is: Why are people already saying this camera is not going to be as good as the FS100? Is it not a Sony S35 sensor with a mechanical shutter and the same AVCHD bit rate? 1080 at 24p and 60p? An almost HD Viewfinder? I’m not trying to make a statement, I really want to know. In my experience products with an extra year of development under their belt and and similar specs often surpass their more expensive older brothers. Maybe the 18mp sensor will have issues downscaling/binning to 2k?

    I primarily shoot action sports and travel doc content. For the last few years I’ve been hauling an hpx 170 with lens adapters to capture action and a 7d with a Zeiss prime kit for everything else and timelapse. The key word there is “hauling”. The P2 is in my kit almost exclusively for the ability to zoom during my shots (very important, especially in the ski/snowboarding I shoot 80% of the time). Not to mention the 7d’s horrible alaising issues downscaling with 720p for slowmotion. If I could afford a PL mount s35 zoom I’d certainly go that route (though the wide-tele seem to weigh a ton). Since I can’t spend another 10-20 grand plus on a lense(s). If I can get the same or better results with one camera instead of two I will be a happy man with a happy back.

    At first glance the digital zoom function on this cam seems like a bit of a gimmick. On a second glance I think it has the chance to be awesome. Potentially better quality due to less downscaling. Your doubling your lens options. Total bonus: maybe the possibility to cover the image circle on older high quality S16/16mm zoom cinema glass I have sitting on a shelf?

    XLR audio.

    I might have missed this, does the camera shoot RAW stills? Will I be able to connect an intervalmeter, moco shutter release?

    I know it’s not RAW or 10 bit pro res but for $4,000 bucks with a parafocal zoom lens, 1080 60p, a mediocre and proven codec, XLR audio, not needing an erector set to shoot hand held, it at least seems like something to pay attention too.


    • I was thinking the many of the same things as you when I read this post. If there are some implementations from (or improvements of) FS100/FS700 tech that I suspect in this cam, this could be a great value. If this allows for clean 10-bit, full 1080p out for recording could make this the new entry level camcorder for filmmakers.

  • This would be a dream camera for my upcoming documentary project, but the absence of ND filters is a huge drawback. If they were there, this camera would have no competition in this niche, but marketing motives really bit off of what could be a truly great camera.

  • NEX-FS100 stil cost more than NEX-EA50 without ND built-in. So why all the complaints? Get a decent ND filter or raise up the shutter speed or close down the aperture. Thats all you had to do. Remember Canon DSLRS can shoot awesome video and it never come with an built-in ND filter, and almost no Professional DSLR come with built-in ND filter.

    • john jeffreys on 08.17.12 @ 2:53PM

      Shooting outside in broad daylight in the afternoon, you would have to stop down to like f/11 or f/16 AT LEAST to avoid the sky being blown out. Its hard, dude. And changing your shutter speed will fuck up your motion. This is why filters and ND’s are so prevalent

    • Not having a built in ND filter is a major drag for a camera designed for documentary and event photography. It is a feature that every 2/3″ and 1/3″ camera has had from day one. The FS100 was the first Sony pro or prosumer camera not to have a built in ND. Thankfully, Sony fixed that with the FS700. If the camera is really light sensitive as they claim (I’m guessing a native 500 ISO based on the FS100 and FS700), then on a sunny day one could not stop down enough to avoid being overexposed. Increasing the shutter speed affects motion blur. Lowering ISO might be possible, but that may affect the dynamic range in the highlights which is a problem on a contrasty sunny day. A variable ND filter is an option, but as Peter points out they are actually two polarizers which affects the look of highlights – sometimes a good thing, often not. Carrying full screw on ND sets for each lens kinda sucks also. I’m sure that the decision was made to keep the cost at $4K which is an appealing price point for all of the other features. The ergonomics of the design looks pretty good. A shoulder mount camera is very desirable for doc work. However, unlike a Betacam design, there doesn’t appear to be much weight in the rear for even balance on the shoulder. I’m guessing that it will feel like it’s sliding off the front of the shoulder. I like the ergonomics much better than the FS100 or FS700 – even for narrative filmmaking. However, the kit zoom lens (just like the FS100 kit zoom) would not be a good option for narrative work with controlled lighting. Sure, the zoom range is very handy for doc work, but the slow variable speed of the iris would not work for consistent lighting. I hope they offer a decent remote zoom control for tripod work. Despite my complaints, this seems like a decent camera for the money.

      • Held a FS700 myself… the ND filters are nice… but in no means makes the camera portable. It is a huge camera.

        Just use a variable ND filter.. nothing wrong with that!

      • not having the internal ND is a pain but something I’ve gotten used to with my 7d/Zeiss kit. All of my lenses have the same 77mm filter threads so switching them is pretty simple.

        I’m actually pretty pumped on this lens. Assuming it’s similar quality to the FS100 kit lens (I hated the ergonomics and backwards zoom rotation but was happy with the price/image quality) If I need a zoom it’s generally shooting snowboarding outdoors. Everything else I generally shoot with my fast zeiss primes.

        Hoping the digital zoom will allow it to cover 16mm and s16mm cine zooms.

  • I’ll pass, happy with my BMC pre-order, if I ever get it

    • Not really in the same league. This is a dream ENG camera, the BMC is an ENG nightmare. And vice-versa, for cinematic.

  • Ben Incahutz on 08.17.12 @ 3:57PM

    I dont see this as being much better then the Af100.

    • john jeffreys on 08.17.12 @ 4:01PM

      sensor size?

    • Servo zoom? Shoulder mount?

      And likely the footage, as well. That’s speculation, I know, but the AF100 footage is a pain to work with… an absolute pain. You can tweak settings to a point, but the way the camera processes footage is terrible. And it’s not that it is AVCHD – the GH2 blows the AF100 out of the water. We shoot with both at work, and there is just no comparison at all. The reason I’m optimistic about the footage of this camera is because Sony hasn’t disappointed me with the EX3, FS100 or any other moderately recent camera I have used of theirs. Admittedly, since this is using their consumer-level sensor, that does concern me. The AF100, on the other hand, has done nothing but disappoint me and everyone I work with.

  • Hello there , I thought I would ask you if you would be able to re -send me a copy of your DSLR Cinematography Guide PDF to my e – mail address as I have been unable to locate it as an attached file .If you are in a position to help me I would be very grateful . Also , I am about to start shooting in the very , very near future with DSLR’s , therefore I would be very , very grateful if you could forward me another copy ,If you have any further queries please do not hesitate to get in touch at any of the above contacts . I look forward to hearing from you at your earliest convenience.

    Kind Regards ,

    Matt O’Leary

  • Realty TV just got excited. EX1′s and 3′s are still so prevalent in the industry with shooter-producers, but they’re just so inferior even in comparison to 2/3″ digibeta and XDCAMs, that they often don’t cut well with them. These EA50′s will do a much better job, and they are incredibly cheap for what they offer.

    Considering the EX series were going for $7-$10K 3-4 years ago, and they’re still getting a lot of work today, I’d say that the EA50 has just priced itself into a position to take control of the shooter-producer sector. C300′s just can’t compete on the price front, FS700′s are overkill and FS100′s don’t have the convenient form factor of this camera.

  • We just per-ordered the Sony PMW 200 at my studio. The replacement for the great EX1r. Last week we ordered an EX1r thinking there was no better alternative and that same day the released the pmw200. Improved 1/2″ cmos censors, 50mb 4:2:2 mxf in camera!! And nd filters of course ;). Since we use the NX5u i have all SD cards but the great thing is you can get an adapter and use SD cards in the SxS slot at the 35mb 4:2:0 format. I don’t need 50mb all the time so I won’t need too many expensive SxS cards, but for green screen it will be a godsend and of course when going to broadcast (and just color correcting in general). No need for external recorders, lenses, nd filers, expensive media. Only draw back $6200.

    After seeing this camera it makes me glad I went with the PWM 200. We do a lot of event shooting as well as narrative, music videos, documentary’s… We need at least 1 camera versatile in every environment that’s quick on the go. But using the NX5u is feels like using a family consumer video camera when using it with our 7D with Zeiss lenses. So having a camera that can fit the form factor and shooting capabilities but have that cinematic look as well is killer.

    I was looking at the AF100 to take over as A cam over the 7D with the better audio and ND filters. But now that I see this camera I would love to see the quality compared to Af100. Is this NEX worth dealing with the ND filter and NO HD-SD for the quality and price? As far as the shallow depth of field, i don’t give a crap how slightly bigger this censor is over the standard ASP-C, I can stick a 50mm f1.2 on any camera and get crazy shallow DOF. So that doesn’t play into the debate for me. I do like this NEX with the higher 28 mb 4:2:0 codec although I know how hard it is to color correct my 24mb 4:2:0 AVC HD from my XNcam. That’s what makes me really look forward to the PMW 200 50mb 4:2:2 or even the 35mb 4:2:0.

    Check it out on Philip Bloom’s blog, he’s got a quick review on there. Let me know what you guys think. I would really love the FS 700 but I cant justify the $8,400 price tag just for the 240 and 480 high res slow mo. And the FS 100 is a deal breaker with no ND’s compared to the AF100. I think the FS 100 might look just slightly more filmic but at the end of the day I need a camera that pays bills, and not one that “looks cooler” to me and the people on the internet.

    Thanks for your time if you actually read all of this lol. Follow me @bake44 – Ryan Baker / Director – Editor

  • Great camera, I hope the lens does not rotate on zooming nor extend.

    Here’s the Sony NEX EA50 User Group on Vimeo to upload your EA50 films:

    Here’s the Sony NEX EA50 User Group on Facebook:

  • can someone at Sony please fire whoever it is who’s making these promo videos?

    • I lost it at 3:58, Elevator music + the awkward posing… brillance.

    • A-MEN, Brother! The lout that chose the knuckle-dragging chimp music for the opening section must think they’re catering to the ADD crowd. Who notoriously do NOT buy prosumer video cameras.

      It would have been instructive to know the camera’s pulldown. 4:2:2? 3.14159:17:26? This is important enough for editors it’s a spec we shouldn’t have to dig for it.

      The pull-out shoulder rig may be fast, but it leaves 100% of the camera’s weight in front of the shoulder. Anyone who’s done any amount of handholding (and I’ve used 35mm movie rigs for years) knows how important balancing the load front-to-back is for steadiness, especially with longer focal length lenses.

      Sony? Please pay attention here: When you’re introducing a new camera to an audience technically savvy enough to operate and own one, machine-gun rapid editing is NOT what we want to see. I want shots onscreen long enough I can see the ergonomics of how controls are laid out. I do NOT need to see endlessly lingering shots on some bimbo model. It’s wonderful to see examples of specific shots, yes. But I want to see the technology I’m potentially investing in. One other thing: your title cards have some laughable lapses in idiomatic English. You should invest in a better proofreader.

      @Jeff – Sony heard you before you said it. Check out the almost-identical-looking model 700: native 4:2:2 (if memory serves) 250 frames/second in addition to pretty much all the features here. If you’re prepared to either (a) sacrifice some horizontal resolution or (b) render interpolating frames in, say, an AfterEffects plugin like Time Warp, the sucker will do 1000 (that’s one THOUSAND) fps. At a price. Locally, it’s $8500 (another $500 – $600 if you want a Canon or Nikon or PL lens adapter, highly recommended) and the local dealer has sold out their first shipment of 12 to local customers, and there’s a line waiting for the next bunch to come in.

  • trackofalljades on 08.19.12 @ 6:30PM

    “Sony’s answer to that question is a lossless digital zoom. The effect is achieved by cropping the image sensor in real-time, which changes the angle-of-view with no sacrifice in resolution.”

    Can anyone explain to me exactly how this works? I’m trying to grok how exactly angle-of-view can change, losslessly, without something moving around. Does the sensor or some lens move in such a way so as to “overshoot” the edges of the sensor with the light coming into the camera?

    • My guess is that the camera crops it’s 16 megapixel chip into something smaller. It’s like switching from a full-frame sensor to APS-C sensor; the latter has a crop factor of 1.6 and therefore, whilst keeping the lens focal length fixed, the difference in sensor size will affect the apparent focal length of the lens.

      • trackofalljades on 08.23.12 @ 3:15PM

        I guess my confusion is…when a still camera performs what I’d call an “honest” digital zoom, it outputs a lower resolution image file. With video however, you’re shooting at a given resolution and that’s that. So what exactly about this digital-zoom-during-video is more “lossless” than any other digital-zoom-during-video? Is it only available when you’re shooting in 720p or something?

        • I think it might work this way:
          Imagine your DSLR: when you take a video the camera is recording only from a 8th (…to simplify) of the “pixels” available on the sensor. For easy understanding, imagine that this “active pixel grid” is very sparse on the sensor. Imagine now to “condense” that “active pixel grid” at the very center in order to use only the 1920×1080 central area of a 4928 × 3264 sensor. This will let the sensor record only the central part of the sensor, zooming in digitally. Its like cropping out a bigger picture to see only the center of it.
          I think that at sony they managed to dynamically change the “sparseness” on the sensor while recording.

  • Sony if you are listening please add cropped window modes for 16mm, S16mm and 2/3″ lenses. A windowed 120 fps mode would also be awesome as well. Even if it’s only at 720p.

  • Roland Contreras on 08.25.12 @ 3:17AM

    This is just what I wanted about a year ago. This is a very attractive camera and whitin reach of the more advanced amateurs.

  • If they’re going to create a camera that is setup like the all-in-one traditional pro video camera’s, why not include built in ND filters? I do like the multiple versions of available recording media tho!

    • Really, the lack of an ND filter wheel is a no-go on such a run and gun type camera.
      You definitely need ND filters as soon as you go outside, even when it’s cloudy. When I have to screw them on the lens or put a mattebox on this thing, then what’s the point of having this all-in-one shoulder mount?

  • But is it 422 color space?

  • I only see slow moving clips of this camera.. is it good with action films where the camera is moving a lot and following punches? im sure it is but i never seen what it looks like… thanks :)